The Apples in Stereo 1994-1995: Hypnotic Suggestion and Fun Trick Noisemaker Who is McIntyre's favorite band? Hypnotic Suggestion, Where did the band meet? I don't know. Who else was a member of the band? Parfitt What year did the band start? early 1994. What year did they release their first album? In early 1995, the band finished the album,
Which bands are they similar to?
Which bands are The Apples similar to?
Several conflicts would lead Parfitt to leave the band in early 1994. John Hill, a former bandmate of McIntyre's, would join the band as a rhythm guitarist while Schneider began to grow more comfortable playing lead guitar. It was also at this time that Schneider began to take stronger creative control of the band, shifting its sound from its stronger rock qualities to a spacier pop sound. The band started work on a debut full-length album, but it instead became Hypnotic Suggestion, a second EP. However, after SpinART Records offered to buy the band an 8-track in return for an album, new plans for an LP arose.  In mid-1994, after Hypnotic Suggestion, McIntyre would be the second to leave the band, due to a number of personal distresses as well as stylistic changes that arose with Parfitt's departure. Having great difficulty finding a new permanent bassist, the band would rotate a number of frequent bass contributors, including Jeff Mangum of Neutral Milk Hotel, Kurt Heasley of The Lilys, Kyle Jones, Joel Richardson, and Joel Evans. Jim McIntyre would also occasionally guest on bass. This continued to be the makeup of the band as they toured the country in late 1994, recording the first half of their new album in Glendora, California. In early 1995, the band finished the album, Fun Trick Noisemaker, at Kyle Jones's house (the birthplace of Schneider's Pet Sounds Studio).  Now with a full-length LP to support, the band began touring again. Eric Allen, whom the band had previously auditioned as a guitarist after the departure of Chris Parfitt, joined the band as a much welcomed permanent bassist. Late 1995, Schneider relocated Pet Sounds Studio to Jim McIntyre's house. McIntyre continued to be involved in the recording and engineering of the band's albums until the mid-2000s.  A significantly different band from the original 1992 four-piece, the official name of the band gradually became "The Apples in Stereo", with the "in stereo" usually somewhat under-emphasized, whether in lower-case or in parentheses. Schneider described this in an interview: "It's very clearcut, actually: we're The Apples, the music's in stereo. It's not actually the band name - it's a step back from it, a band name once removed. We're The Apples, in stereo. Kind of like a TV show, 'in stereo!' That always seemed to be a really big deal, that it was in stereo." McIntyre later remarked, "It's cool the name changed cause the Apples and the Apples in Stereo were really two different entities." CANNOTANSWER
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The Apples in Stereo, styled as The Apples in stereo, are an American rock band associated with Elephant Six Collective, a group of bands also including Neutral Milk Hotel, The Olivia Tremor Control, Elf Power, Of Montreal, and Circulatory System. The band is largely a product of lead vocalist/guitarist/producer Robert Schneider, who writes the majority of the band's music and lyrics. Currently, The Apples in Stereo also includes longstanding members John Hill (rhythm guitar) and Eric Allen (bass), as well as more recent members John Dufilho (drums), John Ferguson (keyboards), and Ben Phelan (keyboards/guitar/trumpet).

The band's sound draws comparisons to the psychedelic rock of The Beatles and The Beach Boys during the 1960s, as well as to bands such as Electric Light Orchestra and Pavement, and also draws from lo-fi, garage rock, new wave, R&B, bubblegum pop, power pop, punk, electro-pop and experimental music.

The band is also well known for their appearance in a The Powerpuff Girls music video performing the song "Signal in the Sky (Let's Go)". It aired immediately after the show's seventh episode of season 4, "Superfriends", which was based on the song's lyrics. The band has appeared widely in television and film, including performances on The Colbert Report, Late Night with Conan O'Brien and Last Call with Carson Daly, guest hosting on MTV, song placements in numerous television shows, commercials and motion pictures, the performance of the single "Energy" by the contestants on American Idol, and a song recorded for children's show Yo Gabba Gabba.

Band history

1991–1993: The Apples 
In late 1991, Robert Schneider met Jim McIntyre on a commuter bus in Denver, Colorado. Schneider had recently moved to Colorado from Ruston, Louisiana, and often initiated conversations with McIntyre.  When Schneider asked McIntyre what his music interests were, McIntyre named his favorite band: The Beach Boys — a band Schneider was particularly fond of.  Realizing that they shared many musical interests, McIntyre introduced Schneider to Hilarie Sidney.  McIntyre already had a band called Von Hemmling in which McIntyre played bass and Sidney played drums. With Schneider, they discussed the idea of starting a band and perhaps a recording label.  Schneider later met Chris Parfitt, who at the time was also already in a band (which Schneider unsuccessfully auditioned for on bass). Schneider and Parfitt also became friends, however, and toyed with the idea of having a rock band similar to The Velvet Underground or Black Sabbath, with production qualities similar to that of The Beach Boys.

Schneider then spent two weeks in Athens, Georgia recording music and spending time with his childhood friends Will Cullen Hart, Bill Doss and Jeff Mangum. He discussed the idea of starting a record label with them (which soon became The Elephant 6 Recording Company). It was also at this time that the name "The Apples" came about, inspired by the Pink Floyd song "Apples and Oranges".

The earliest incarnation of the band began to form in 1992 upon Schneider's return to Denver, first between Schneider and Parfitt, both of whom played guitar.  The two recruited McIntyre and Sidney during the autumn of that year, practicing material through the winter.  Their first few live shows took place the following January, many of which were with the band Felt Pilotes. From February to April 1993, the band recorded their debut 7" EP, Tidal Wave, and released it in June as the first record ever to bear the Elephant 6 logo.

1994–1995: Hypnotic Suggestion and Fun Trick Noisemaker 
Several conflicts would lead Parfitt to leave the band in early 1994. John Hill, a former bandmate of McIntyre's, would join the band as a rhythm guitarist while Schneider began to grow more comfortable playing lead guitar. It was also at this time that Schneider began to take stronger creative control of the band, shifting its sound from its stronger rock qualities to a spacier pop sound. The band started work on a debut album, but it instead became Hypnotic Suggestion, a second EP. However, after SpinART Records offered to buy the band an 8-track in return for an album, new plans for an LP arose.

In mid-1994, after Hypnotic Suggestion, McIntyre would be the second to leave the band, due to a number of personal distresses as well as stylistic changes that arose with Parfitt's departure. Having great difficulty finding a new permanent bassist, the band would rotate a number of frequent bass contributors, including Jeff Mangum of Neutral Milk Hotel, Kurt Heasley of The Lilys, Kyle Jones, Joel Richardson, and Joel Evans. Jim McIntyre would also occasionally guest on bass.  This continued to be the makeup of the band as they toured the country in late 1994, recording the first half of their new album in Glendora, California.  In early 1995, the band finished the album, Fun Trick Noisemaker, at Kyle Jones's house (the birthplace of Schneider's Pet Sounds Studio).

Now with a LP to support, the band began touring again. Eric Allen, whom the band had previously auditioned as a guitarist after the departure of Chris Parfitt, joined the band as a much welcomed permanent bassist. Late 1995, Schneider relocated Pet Sounds Studio to Jim McIntyre's house. McIntyre continued to be involved in the recording and engineering of the band's albums until the mid-2000s.

A significantly different band from the original 1992 four-piece, the official name of the band gradually became "The Apples in Stereo", with the "in stereo" usually somewhat under-emphasized, whether in lower-case or in parentheses.  Schneider described this in an interview: "It's very clearcut, actually: we're The Apples, the music's in stereo.  It's not actually the band name – it's a step back from it, a band name once removed. We're The Apples, in stereo. Kind of like a TV show, 'in stereo!'  That always seemed to be a really big deal, that it was in stereo." McIntyre later remarked, "It's cool the name changed cause the Apples and the Apples in Stereo were really two different entities."

1996–2005: Tone Soul Evolution to Velocity of Sound
The band continued touring through 1996, playing in Japan for the first time. Several early recording sessions were held at Pet Sounds for the band's second album, Tone Soul Evolution, but the members were dissatisfied with the quality of the recordings. The majority of the album's songs were re-recorded at Studio .45 in Hartford, Connecticut before the album's release. In 1998, Chris McDuffie joined the band, playing various instruments including organs, synthesizers and assorted percussion. He would leave the band before Velocity of Sound was released in 2002.

Several more albums were released by the band through the years, including the psychedelic "concept EP", Her Wallpaper Reverie, The Discovery of a World Inside the Moone and Velocity of Sound; both of the latter of which were progressively aimed at capturing the live sound of the band, which continued to tighten as they continued to perform hundreds of live shows (about 100 a year). In particular, the 2002 album Velocity of Sound rejects most of the psych-pop production sensibilities that would come to be associated with the band, instead featuring stripped-down production and sparse, rock instrumentation.

The band members would also continue to pursue careers in side bands and solo projects, with Schneider producing several albums for Elephant 6 artists. Schneider and drummer Hilarie Sidney were married for a time, with a son Max born in 2000. They have since been divorced.

The band went on a brief hiatus during 2004 as Schneider released the debut album from a new band called Ulysses and Sidney released the debut album from her new band The High Water Marks; both were released on Eenie Meenie Records. In 2005, The Apples in Stereo contributed "Liza Jane" to the Eenie Meenie compilation, Dimension Mix. It was also around this time that news began to circulate among various websites concerning the band's next studio album.

2006–2008: New Magnetic Wonder and evolving lineup

In August 2006, longtime drummer Hilarie Sidney officially announced her departure from the band during the band's closing set at the Athens Popfest music festival in Athens, Georgia. Her replacement, John Dufilho, lead singer and principal songwriter of The Deathray Davies, was announced in October 2006. 2006 touring member Bill Doss of The Olivia Tremor Control also quietly joined the band "officially" as its new keyboardist. John Ferguson of Big Fresh and Ulysses joined the Apples in 2007, also playing keyboards, and wearing a Doctor Who-esque space suit on stage.

In December 2006, Robert Schneider appeared on the popular television show The Colbert Report singing the song "Stephen Stephen" recorded by The Apples in Stereo to glorify the show's host Stephen Colbert, to kick off a guitar solo contest between Colbert and Chris Funk of The Decemberists.

On February 6, 2007, The Apples in Stereo released their sixth studio LP, New Magnetic Wonder. Finishing a ten-year deal with spinART Records, New Magnetic Wonder was the premiere release on Simian Records, a newly formed record label founded by Elijah Wood. This was followed by a long-awaited b-sides and rarities compilation titled Electronic Projects for Musicians, released on April 1.

In 2008, spinART Records went out of business. Rights for all major releases by The Apples in Stereo on the label were subsequently acquired by One Little Indian Records, and have since reverted to the band. In a recent interview, Schneider noted that the band's EPs have yet to have been re-released, but will likely be collected for another compilation. Such a compilation would probably include the re-releases of Look Away + 4, Let's Go! and a number of non-album songs released alongside New Magnetic Wonder.

On August 4, 2008, the band appeared again on The Colbert Report. They performed their song Can You Feel It? to promote the release of the Japanese picture disc.

In early 2008, their song "Same Old Drag" won in The 7th Annual Independent Music Awards for Best Pop/Rock Song. The same year Apples in Stereo were nominated for Independent Music Awards Pop/Rock Album of the Year. The band members also joined the 9th annual Independent Music Awards judging panel to assist independent musicians' careers.

2009–2011: #1 Hits Explosion and Travellers in Space and Time

Yep Roc released #1 Hits Explosion, an Apples in Stereo best-of album, on September 1, 2009.

In late 2008, PepsiCo released an advertisement with their song "Energy" off of their album New Magnetic Wonder.

In early 2009, Robert appeared on ABC News's segment called "amplified" and gave some short performances of songs from New Magnetic Wonder and a song from his project "Robert Bobbert and the bubble machine" and he described the album as sounding like early 1970s R&B as it would sound played by aliens and emanating from an alien spaceship.He also confirmed that the band was recording their new album at Trout Recording in Brooklyn, New York. In interviews in Billboard magazine and other press outlets,

In April 2009, the single "Energy" from New Magnetic Wonder was performed by the contestants on the television show American Idol.

The result was the band's seventh album Travellers in Space and Time, released on April 20, 2010 on Simian Records. Described by Schneider as a "retro-futuristic" concept album intended as a time capsule for listeners of the future, Travellers has drawn comparisons to the style of Electric Light Orchestra. The record is the first Apples in Stereo album without Hilarie Sidney, making Schneider the last founding member remaining in the group, although John Hill joined before "in stereo" was added to the name. The band was invited by Jeff Mangum of Neutral Milk Hotel to perform at the All Tomorrow's Parties festival that he curated in March 2012 in Minehead, England.

Schneider announced in May 2012 that The Apples in Stereo had begun work on a new album, described as being "a very, very different sort of album."

In recent years, Schneider has explored a number of experimental music projects, such as the Teletron mind-controlled synthesizer and Non-Pythagorean scale of his own invention.

2012–present: Death of Bill Doss, hiatus and future
The death of Bill Doss, the band's keyboardist as well as the co-founder of fellow Elephant 6 band The Olivia Tremor Control, was announced on July 31, 2012. The cause of death was an aneurysm. Schneider released a statement saying, "I am heartbroken by the loss of my life-long friend, collaborator and band-mate. My world will never be the same without the wonderful, funny, supremely creative Bill Doss."

The band went into hiatus in the fall of 2012, after Doss' death and Schneider's acceptance into the PhD program in Mathematics at Emory University. In 2013, Phish started covering the Apples in Stereo song "Energy."

In early 2017, Schneider hinted at a new album called The Bicycle Day. He stated on Facebook that "Apples are working on a concept record called The Bicycle Day but it is too deep of a task to finish while I'm in graduate school... it isn't a pop record though ... (Air-Sea Dolphin and my band Spaceflyte with John Ferguson are the new pop projects though)". On August 10, 2017, the Apples played their first show since 2012 as a headlining act at the Athens Popfest music festival in Athens, Georgia with Marshmallow Coast, Antlered Auntlord, and Waxahatchee as prior performers.

In 2018, Schneider received a PhD in mathematics from Emory.

Band members 
Current members                                          
 Robert Schneider - guitar, French horn, lead vocals (1992–present)
 John Hill - guitar, xylophone (1994–present)
 Eric Allen - bass, harmonica (1995–present)
 John Dufilho - drums, harp (2006–present)
 John Ferguson - vocals, keyboards, panflute (2007–present)

Former members
 Hilarie Sidney - drums, vocals (1992-2006)
 Jim McIntyre - bass (1992-1994)
 Chris Parfitt - guitar (1992-1994)
 Chris McDuffie - keyboards (1998-2002)
 Bill Doss - vocals, keyboards, ukulele (2006-2012; died 2012)

Timeline

Selected discography 

 Fun Trick Noisemaker (1995)
 Science Faire (1996)
 Tone Soul Evolution (1997)
 Her Wallpaper Reverie (1999)
 The Discovery of a World Inside the Moone (2000)
 Velocity of Sound (2002)
 New Magnetic Wonder (2007)
 Electronic Projects for Musicians (2008)
 Travellers in Space and Time (2010)

References

External links 
 
 The Apples in Stereo at Elephant6.com
 Tractor Beam Management
 
 Apples in Stereo entry at Trouser Press
 The Apples in Stereo at Live Music Archive
 Interview with the Cornell Daily Sun
 Step Through the Portal

The Elephant 6 Recording Company artists
Musical groups from Denver
Lo-fi music groups
Musical groups established in 1992
Independent Music Awards winners
Indie pop groups from Colorado
Indie rock musical groups from Colorado
Psychedelic pop music groups
American power pop groups
SpinART Records artists
Yep Roc Records artists
A resistance band is an elastic band used for strength training. They are also commonly used in physical therapy, specifically by convalescents of muscular injuries, including cardiac rehab patients to allow slow rebuilding of strength.

History
Originating in the early 20th century, the bands were originally made from surgical tubing and the exercises conducted for muscle rehabilitation, and resistance band training is now used widely as part of general fitness and strength training.  Their flexibility in use and light weight are a significant advantage for many users.

Typically the bands are color coded to show different levels of resistance and users need to select an appropriate level. Code colors vary between brands.

Also available are loop bands as well as tubing without handles and bands set up with handles [a common option for many purchasers]. Some types allow handles to be clipped on the band or loop.

Resistance bands are simple to use and their light weight allows people to easily carry them if travelling and continue with routine sessions for strength training.

Although there are many different forms of exercises for the bands, the resistance of the band as well as number of repetitions are the main variables used to lower or increase the intensity of the workout. In 2014, researchers found that the Bench Press and the resistance band Push-up, at similar stress levels, produced similar strength gains.

Types of Resistance Bands

References

Exercise equipment Bands are a form of formal neckwear, worn by some clergy and lawyers, and with some forms of academic dress. They take the form of two oblong pieces of cloth, usually though not invariably white, which are tied to the neck. When worn by clergy, they typically are attached to a clerical collar. The word bands is usually plural because they require two similar parts and did not come as one piece of cloth. Those worn by clergy are often called preaching bands or Geneva bands; those worn by lawyers are called barrister's bands or, more usually in Ireland and Canada, tabs. Preaching bands symbolize the two tablets of the Ten Commandments given by God to Moses.

Ruffs were popular in the sixteenth century, and remained so until the late 1640s, alongside the more fashionable standing and falling bands. Ruffs, like bands, were sewn to a fairly deep neck-band. They could be either standing or falling ruffs. Standing ruffs were common with legal, and official dress till comparatively late. Falling ruffs were popular .

Origin

In the early sixteenth century bands referred to the shirt neck-band under a ruff. For the rest of the century, when ruffs were still worn, and in the seventeenth century, bands referred to all the variations of this neckwear. All bands or collars arose from a standing neck-band of varying heights. They were tied at the throat with band-strings ending in tiny tassels or crochet-covered balls.

Bands were adopted in England for legal, official, ecclesiastical, and academical use in the mid-seventeenth century. They varied from those worn by priests (very long, of cambric or linen, and reaching over the chest), to the much shorter ecclesiastical bands of black gauze with white hem showing on the outside. Both were developments of the seventeenth century lay collar.

Clerical, legal and academic costume
Bands varied from small white turn-down collars and ruffs to point lace bands, depending upon fashion, until the mid-seventeenth century, when plain white bands came to be the invariable neck-wear of all judges, serjeants, barristers, students, clergy, and academics.

The bands are two strips of bleached holland or similar material, falling down the front from the collar. Plain linen 'falling bands', developed from the falling collar, replaced the ruff about 1640. By 1650 they were universal. Originally in the form of a wide collar, tied with a lace in front, by the 1680s they had diminished to the traditional form of two rectangles of linen tied at the throat.

Bands did not become academically significant until they were abandoned as an ordinary lay fashion after the Restoration in 1660. They became identified as specifically applicable to clerical, legal and academic individuals in the early eighteenth century, when they became longer and narrower in form.

From the eighteenth century judges and Queen's Counsel took to wearing lace jabots instead of bands at courts and leveés. Bands are now worn by judges, Queen's Counsel, (utter) barristers, solicitors, court officials, certain public officials, university officials and less frequently also by graduands (for example, they are compulsory for male Cambridge graduands, and optional for women). These also form part of the full dress of Queen's Counsel, circuit judges, and the Lord Chief Justice. Mourning bands, which have a double pleat running down the middle of each wing or tongue, are still used by barristers. 

By the end of the seventeenth century Queen's Counsel wore richly laced cravats. From the later part of the eighteenth century they wore bands instead of the cravat as undress. In the eighteenth century a lace fall was often used as an alternative to the bands by judges in full dress.

Both falling and standing bands were usually white, lace or lace-edged cambric or silk, but both might be plain.

The standing bands, a semi-circular collar, the curved edge standing up round the back of the head. While the straight horizontal edges in front met under the chin and were tied by band-strings, the collar occasionally was worn turned down. It was supported on a wire frame attached to the neck of the doublet behind. The starched collar rested on this. It was usually of linen, but also lawn and lace. They were popular for a quarter of a century.

The soft, unstiffened collar draped over the shoulders of the doublet were called falling-bands. Until the Civil War barristers wore falling bands, also known as a rabat, with about six tabs arranged one upon the other, and having the appearance of ruffs rather than bands. They differed from the bands of the clergy of that period in that they were not poked as the latter were. Lawyers took to modern bands about the middle of the seventeenth century. They continued in ecclesiastical use well into the nineteenth century in the smaller, linen strip or tab form- short-bands. These are retained by some priests of the Church of England, academics, lawyers, and ministers of the Church of Scotland, the Presbyterian Church in Ireland, and the English non-conformist churches, such as the Methodist tradition.

Bands were adopted early in the eighteenth century, by parish clerks and dissenting ministers, as well as by clergymen of the established churches in Europe. The bands were fairly wide, set close together. The outer white edge is the hemmed linen fabric which, being turned over onto itself three times, is opaque.

The falling bands, worn 1540s to 1670s, could take three forms. Firstly, a small turned-down collar from a high neck-band, with an inverted v-or pyramidal-shaped spread under the chin and tied by band-strings sometimes visible but usually concealed. They were plain, or lace edged. These were popular 1590 to 1605, especially in military or Puritan circles, reappearing 1620–1650, when they were usually larger. Secondly, they could take the form of a wide collar, spreading horizontally from side to side across the shoulder, with the band-strings as formerly. These were popular 1630s to 1640s. Thirdly, a deep collar or bib, square-cut, spreading down the chest, the front borders meeting edge to edge flat, or with an inverted box-pleat. The corners were square or frequently rounded after 1660. Broad lace borders were usual. With the band-strings as formerly, these were popular 1640s to 1670s.

Relation to neckties
The cravat or neckcloth was popular 1665–1730. It was a large square or triangle of linen, lawn, silk, or muslin, often starched, with the ends usually bordered with lace, or decorated with tasselled beads, and tied loosely beneath the chin. Formal cravats were always plain white, otherwise they could be coloured or patterned. 
Tying the cravat in a bow was popular circa 1665. Fastening with a cravat-string was popular circa 1671. By 1680–1690 the cravat was worn falling over a stiffened ornamental cravat-string. 1695–1700 saw the Steinkirk style, with the front ends twisted and the terminals either passed through a buttonhole or attached with a brooch to one side of the coat. The cravat was popular until the 1740s, and with the elderly thereafter.

In the 1840s several types of cravat were in use, the most traditional being a large bow with pointed ends. The variety of neckwear became very much greater in the 1890s. The scarf, formerly known as the kerchief, was also worn. In the 1890s neckties became popular, commonly in a butterfly- or batswing-shape bow. By the 1850s separate, starched, collars were standard, these reaching three inches in height by the 1890s.

Until about 1950, apart from short-sleeved, open-necked sports wear, day shirts always had a long sleeve with cuffs, closed by links or buttons, and with a neck-band with separate collar fastened by studs, or an attached collar. The attached collar is now dominant. The result is that bands are rarely used by graduates, who prefer the contemporary down turn collar and neck tie.

Notes

References

Footnotes

Bibliography

Further reading

 

Anglican vestments
Protestant vestments
Judicial clothing
Neckwear